Design Creativity 2010 (eBook)

Toshiharu Taura is Professor of Graduate School of Engineering at Kobe University.  He received his B.S., M.S., and Dr. Eng. degrees from the University of Tokyo, Japan, in 1977, 1979, and 1991, respectively. In 1992, he joined the University of Tokyo as an Associate Professor, and in 1998, he joined Kobe University as Professor at the Mechanical Engineering Department. He is currently working on several research themes that focus on the creative thought process of both engineering and industrial design, including the interdisciplinary aspects of design science.He is a member of the Advisory Board, is heading the Design Creativity SIG of the Design Society and a Fellow of the DRS (Design Research Society). He is the recipient of the Best Paper Prize at the 2nd International Conference on Design Computing and Cognition (2006), as well as some domestic awards.Yukari Nagai is Associate Professor of Graduate School of Knowledge Science at Japan Advanced Institute of Science and Technology since 2004. She graduated from Musashino Art University, majored in Design (M.A), and researched abroad at Creativity and Cognition Research Studios, Loughborough University (2002). She received PhDs from Chiba University (2003), and University of Technology, Sydney (2009). Best Paper Prize was awarded to her at DESIGN2002 Conference and International Conference on Design Computing and Cognition (2006). She is a member of the Design Society and a co-chair of SIG Design Creativity. She has served as an editorial board member of the Journal of Engineering Design, and contributed as guest editor of special issue of journal “Artifact” (2008). Her research interests are design creativity, design knowledge and creative cognition.

Preface 5
Table of Contents 6
List of Referees 9
Directions for Design Creativity Research (Invited Papers) 10
Discussion on Direction of Design Creativity Research (Part 1) - New Definition of Design and Creativity: Beyond the Problem-Solving Paradigm 11
1 Introduction 11
2 Survey of Definitions of Design 11
2.1 Genealogic View of Definitions of Design 12
2.2 Genealogic View of Definitions of Creativity 13
3 New Definition of Design and Creativity 14
3.1 Classification of Design 14
3.2 New Definition of Design and Creativity 14
4 Meaning of New Definition of Design 15
5 Conclusion 16
References 16
Discussion on Direction of Design Creativity Research (Part 2) - Research Issues and Methodologies: From the Viewpoint of Deep Feelings and Desirable Figure 17
1 Introduction 17
2 Research Issues in Design Theoretics 17
2.1 Inside-outside Issue in Design Thinking 17
2.2 Issue of Abstraction Process in Design Thinking 18
2.3 Back-and-forth Issue in Design Thinking 18
3 Research Methodologies of Design Theoretics 19
3.1 Internal Observation of Design Thinking 19
3.2 Computational Simulations 19
3.3 Theoretical Modeling 20
4 Example of Design Pursuing Desirable Figure 20
5 Conclusion and Open Issues for Future Work 21
References 21
Future Directions for Design Creativity Research 23
1 Introduction 23
2 Where Can Design Creativity Be? 23
2.1 Creativity is in the Design 23
2.2 Creativity is in the Assessor of the Design 24
2.3 Creativity is in the Design Process that Produced the Design 24
2.4 Creativity is in the Designer 24
2.5 Creativity is in the Interaction between the User and the Design 24
2.6 Creativity is in the Society in which the Design Exists 24
2.7 Creativity is in the Interaction between the Design, the Users/Assessors and Society 24
3 What Has Been Researched 24
3.1 Studying Design Processes 24
3.2 Studying Cognitive Behavior 25
3.3 Studying interactions 25
4 How Design Creativity Has Been Researched 25
4.1 Computational Modeling 25
4.2 Cognitive Modeling 26
5 Future Directions for Design Creativity Research 26
5.1 Design Processes 26
5.2 Cognitive Behavior 27
5.3 Social Interaction 28
5.4 Cognitive Neuroscience 28
5.5 Measuring Design Creativity 29
5.6 Test Suites of Design Tasks 29
6 Conclusions 29
Acknowledgements 30
References 30
Systematic Procedures Supporting Creativity - A Contradiction? 31
1 Introduction 31
2 Modeling Creativity 31
3 Improve Creative Processes 33
3.1 New Solutions for Elastic Couplings 33
3.2 Development of a High Pressure Pump 34
3.3 Improve Vacuum Cleaner Sucking Device 34
3.4 Improve the Properties of a Device in Late Development Phases 35
4 Discussion and Conclusion 36
References 36
Better, Not Catchier: Design Creativity Research in the Service of Value 37
1 Why is Design Creativity Important? 37
2 Why is Design Creativity Dangerous? 37
2.1 All That Glitters is Not Gold 38
2.2 Ethics 38
3 Applied Research 38
4 Basic Research 39
5 A Changing Perception of Creativity 40
6 Some Concluding Remarks 40
References 41
Using Evolved Analogies to Overcome Creative Design Fixation 42
1 Designers Are People 42
2 Cognitive Fixation 42
2.1 Implicit Memory 43
2.2 Problem Solving 43
2.3 Creative Idea Generation 43
2.4 Brainstorming 43
2.5 Design Fixation 43
3 Incubation & Insight
3.1 Forgetting Fixation 44
3.2 Environmental Triggers 45
4.2 Analogy & Design
5 Well-Tested Analogies 45
References 46
Design Creativity Research: From the Individual to the Crowd 47
1 Introduction 47
2 Understanding Creativity in Design 48
2.1 Understanding Creative Processes 48
2.2 Evaluating Potentially Creative Designs 49
3 Collective Intelligence in Design 49
4 Research Directions for Creative Design Emerging from Collective Intelligence 50
4.1 Technology Development 50
4.2 Creative Design Process 51
4.3 Evaluating Creative Design 52
Acknowledgements 52
References 52
Motivation as a Major Direction for Design Creativity Research 54
1 Introduction 54
2 Motivation as a Research Direction 55
2.1 Internal or External Reward or Punishment 55
2.2 A Preliminary Model of Motivational Cycle 56
2.3 Research Issues 56
2.4 Research Approaches 56
3 Preliminary Explorations 56
3.1 Creative Lineages 57
3.2 Creative Milieus 59
3.3 Creative Individuals 59
4 Conclusions as Beginnings 60
References 61
Design Research and Designing: The Synergy and The Team 62
1 Introduction 62
2 Creative Design Institute 62
3 Types of Design Projects in relation to Research Projects 63
4 The Synergy between Design Research and Designing 64
5 The Team of Designers and Researchers 64
6 Discussions 65
References 65
Theories on Design Creativity 66
Not from Scratch: The DMS Model of Design Creativity 67
1 Introduction 67
2 The Components of the DMS Model 68
2.1 Designer 68
2.2 Memory 68
2.3 Stimuli 69
3 Two-fold Relationships: DM, MS, and SD 70
3.1 Designer-Memory (DM) 70
3.2 Memory-Stimuli (MS) 70
3.3 Stimuli-Designer (SD) 70
3.3 Stimuli-Designer (SD) 71
4 Three-fold Interactions: DMS 71
5 In Conclusion 72
Acknowledgements 72
References 74
Influence of Environmental Information on Expert-perceived Creativity of Ideas 75
1 Introduction 75
2 Assessing Creativity 76
3 Methodological Approach 77
4 Results 78
5 Conclusions and Outlook 79
References 81
Towards a New Theory for Design Activity Reasoning 83
1 Introduction 83
2 A Model for Design Activity 84
2.1 Product Model 84
2.2 Satisfying Solution and Problem(s) 85
2.3 Activity Model 85
3 A Theory : First Axioms and Theorems 85
3.1 A Product 85
3.2 A product that the designer transforms… but he is not alone 86
3.3 Emergence 87
3.4 Next Axioms and Theorems 88
4 Discussion 88
4.1 Refutability 89
4.2 External Coherence 89
4.3 Relevance and Utility 89
5 Conclusions 89
Acknowledgments 90
References 90
Design Process and Cognition 1 91
An Approach to Measuring Metaphoricity of Creative Design 92
1 Introduction 92
2 Metaphoricity in Design 92
2.1 Metaphorical Design 92
2.2 Metaphor and Design Creativity 93
3 Measuring Metaphoricity 93
3.1 Object Similarity 93
3.2 Domain Dissimilarity 94
3.3 Salience Imbalance 95
3.4 Metaphoricity 96
4 Example and Testing 96
5 Conclusion 98
Acknowledgements 98
References 98
Interrelations between Motivation, Creativity and Emotions in Design Thinking Processes – An Empirical Study Based on Regulatory Focus Theory 100
1 Introduction 100
1.1 Design Thinking Process Model 101
1.2 Regulatory Focus Theory and Creative Performance 101
1.3 Hypotheses 102
2 Method 103
3 Results 103
3.1 Motivation and Creativity in the Design Thinking Process 103
3.2 Motivaton and Emotions in the Design Thinking Process 104
4 Discussion 105
5 Outlook 106
References 106
Conceptual Design and Cognitive Elements of Creativity: Toward Personalized Learning Supports for Design Creativity 108
1 Introduction 108
2 Cognitive Elements of Creativity 109
3 Creativity Exercise Program 109
4 Evaluation of Pre and Post Creativity 111
4.1 Conceptual Design Task 111
4.2 Evaluation Guideline 111
5 Results and Discussion 112
5.1 Enhanced Design Creativity 112
5.2 Affective Modeling and its Relation with Enhanced Design Creativity 113
6 Conclusion 114
References 114
Analogical Design Computing 115
DANE: Fostering Creativity in and through Biologically Inspired Design 116
1 Introduction 116
2 Related Work 116
3 The Design By Analogy to Nature Engine 117
4 Application Context 119
5 Training and Deployment 120
6 Results 120
7 Challenges 121
8 Conclusions 122
Acknowledgements 123
References 123
Development of a Catalogue of Physical Laws and Effects Using SAPPhIRE Model 124
1 Introduction 124
2 Literature Survey 124
3 Objective and Research Approach 126
4 Observations 126
4.1 Relationships between effect, input and organs 126
4.2 Relationships between organs and parts 127
4.3 Relationships between effect and phenomenon 127
4.4 Relationships between phenomenon and state change 128
4.5 Relationship between action and state change 128
4.6 Relationships among SAPPhIRE constructs 128
4.7 Catalogue 128
5 Discussion 129
6 Summary and Future Work 130
Acknowledgments 131
References 131
Measuring Semantic and Emotional Responses to Bio-inspired Design 132
1 Introduction 132
2 Design of Protocol Study 133
2.1 Cognitive Mesurement: Questionnaire 133
2.2 Physiological Measurement: Galvanic skin Response (GSR) 134
2.3 Data Gathering 134
2.4 Data Analysis 135
3 Results 135
3.1 Correlation of Semantic Descriptions 135
3.2 Correlation Related to Emotional Terms 136
4 Discussion 137
4.1 Various Aspects for Measuring Emotional Impact on Bio-inspired Design 137
5 Towards Modeling the Attitude and Posture of Animals 137
6 Conclusion 137
Acknowledgments 138
References 138
Design of Emotional and Creative Motion by Focusing on Rhythmic Features 140
1 Introduction 140
2 Purpose 140
3 Method of Designing Emotional and Creative Motion 141
3.1 Analogy with Natural Objects 141
3.2 Blending of Motions 141
3.3 Emphasis on Rhythmic Features 141
4 Procedure to Design an Emotional and Creative Motion Purpose 142
5 Experiment 143
5.1 Designing an Emotional and Creative Motion Using the Proposed Method 143
5.2 Evaluation of the created Motions 144
6 Discussion 145
7 Conclusion 147
References 147
Design Synthesis 148
Create Adaptive Systems through “DNA” Guided Cellular Formation 149
1 Introduction 149
2 Related Work 149
3 cFORE: Cellular System Formation and Representation 150
4 Case Example and Discussion 152
5 Concluding Remarks 156
References 156
Developing a Coding Scheme to Analyse Creativity in Highly-constrained Design Activities 157
1 Introduction 157
1.1 Modes of Change in Design 157
2 Methodology 158
3 Results 159
3.1 Introducing the 2nd coding scheme 161
3.2 Reviewing the coded concepts on a timeline 162
4 Discussion 162
4.1 Discussion of the 2nd coding scheme 162
4.2 Patterns in Modes of Change 163
5 Conclusions 164
References 164
Effectiveness of Brainwriting Techniques: Comparing Nominal Groups to Real Teams 165
1 Introduction and Background 165
1.1 Osborn’s Brainstorming 165
1.2 Brainsketching 166
1.3 Gallery 166
1.4 C-Sketch / 6-3-5 166
2 Experimental Approach and Research Questions 167
3 Experimental Method 167
3.1 Factor 1: Display of Ideas 167
3.2 Factor 2: Representation 168
4 Metrics 169
5 Results and Discussion 169
5.1 Quality 169
6 Conclusions 170
References 171
Methods and Tools for Design Creativity 172
Front End Industrial Design (FE-ID) - Developing New Tools and Models for Industrial Designers to Operate at the Front End of New Product Development 173
1 Introduction 173
2 The Front End of NPD 173
3 A Process Model for Front End Industrial Design (FE-ID) 174
4 Evaluation of the FE-ID Process 178
5 Discussion 178
6 Conclusions 179
7 Acknowledgements 180
References 180
Virtuality – Offering Opportunities for Creativity? 181
1 Introduction 181
2 3DVW as a Pedagogical Tool 181
2.1 Constructivism, design education and 3DVW 182
2.2 Designing 3D Virtual Worlds 183
3 Creativity and 3DVW 184
4 Conclusion 187
References 188
Thinking Inside the Box: Model, Tool, Team and Setting for Building Design 189
1 Introduction 189
2 Methodology: Team Mental Models and Integral Design Tools 190
2.1 Mental Models in Design Teams 190
2.2 Integral Design method 191
3 Workshops 192
4 Results integral design workshops 193
5 Discussion 194
6 Conclusion 195
7 Limitations and future directions 195
Acknowledgements 195
References 195
Signs of Collaborative Ideation and the Hybrid Ideation Space 197
1 Introduction 197
2 Collaborative Ideation 198
2.1 Assessing Collaborative Ideation 198
3 The Hybrid Ideation Space (HIS) 199
4 The Experiment 200
4.1 Sampling 200
4.2 Experimental Setting 200
4.3 Data Collection Techniques 201
5 Results 201
5.1 Design Flow Pattern 201
5.2 The CI Loop 202
6 Conclusions 203
References 204
Design Process and Cognition 2 205
Creativity: Depth and Breadth 206
1 Design as Problem Solving 206
1.1 Insight and Incremental Problems 206
1.2 Divergent and Convergent Thinking 207
1.3 Fixation: Convergent Thinking? 207
2 Study: Generating Ideas 208
2.1 Thinking With Sketches 208
2.2 Method 209
2.3 Results and Discussion 209
3 Breadth and Depth: Divergent and Convergent Thinking 211
References 211
Research Methodology for the Internal Observation of Design Thinking through the Creative Self-formation Process 212
1 Introduction 212
2 Aims 213
3 Framework of the Method of Internal Observation 213
4 Detailed Procedure of Internal Observation 214
4.1 Organization of the Practical Experiment 214
4.2 Procedure of the Practical Experiment 215
5 Results of the Experiment 216
6 Analysis and Discussion 216
6.1 Quantitative Analysis 216
6.2 Qualitative Analysis 218
7 Conclusion 219
References 219
Design as a Perception-in-Action Process 220
1 Introduction 220
2 Design Cognition 220
2.1 Design Thinking in Constructivist Perspective 220
2.2 The Role of Perception 221
3 The Creative Process in Design 221
3.1 The Change of Methodological Paradigms 221
4 The Perception-in-Action Model 222
4.1 The Process and its Phases 223
4.2 Perception in and through images 224
5 Design Education 224
5.1 Principles and strategies for training perception 225
5.2 Perception-in-Action in the Project Classes or Design Studios 226
6 Conclusions 226
References 226
Verbal Stimuli in Design Creativity: A Case-study with Japanese Sound symbolic Words 228
1 Introduction 228
2 Roles of Language in Design 228
2.1 Language as an Inspirational Stimulus 229
2.2 Language as a Support for Communication 229
3 Words Expressing Emotions: Japanese Sound-symbolic Words 229
3.1 Japanese Sound-symbolic Words can Describe States and Emotions 229
3.2 Studies on/with Japanese Sound-symbolic Words 230
4 Experimentation 230
4.1 Study 1: Sound-symbolic Words in Design Communication 231
4.2 Study 2: Sound-symbolic Words as Inspirational Sources 232
5 Conclusion and Perspectives 234
Acknowledgements 234
References 234
Visual Representation in Design 236
Creative Collaborative Strategies of Remote Sketching on Design 237
1 Introduction 237
1.1 Analysis of the Generation of Ideas in a Team 237
1.2 Sketching in a Team 237
1.3 Sketching in a Team 238
2 Case Study 239
2.1 Method 240
3 Analysis of Collaborative Sketching Production 240
3.1 Analysis of the Production of Work Ideas 241
4 Discussion and Future Investigation 242
Acknowledgements 243
References 243
Creation of New Fashion Illustration Painting Techniques by Use of India-ink Painting Techniques: Research into Line Drawing Techniques of Expression in Fashion Illustrations 245
1 Preface 245
2 Research Methodology 245
3 Investigation into and Consideration of India-ink Painting Research Methodology 245
3.1 The History and Appeal of India-ink Painting 246
3.2 The Pinpointing the Basic Techniques of India-ink Painting The History and Appeal of India-ink Painting 246
3.3 Consideration of the Essence and Expressiveness of India-ink Painting 247
4 Application to Fashion Illustration Painting Techniques 247
4.1 The Essence and Expressiveness of India-ink Paintings 248
4.2 Expression of Shapes 248
4.3 Coloring Techniques 248
5 Samples of Trial Creation of Fashion Illustrations 249
5.1 Line Drawing Expressiveness 249
5.2 Boneless Expression 249
5.3 Upright Brush Expression 249
5.4 Angled Brush Expression 249
5.5 Wet Brush Expression 249
5.6 Dry Friction Brush, Nomal brush, Reverse Brush Expression 250
5.7 Summary of validity of examples created 250
6 Comprehensive Fashion Illustration Expressions by Hand-painting 250
7 Development using CG 250
8 Observations and Summary 251
9 Conclusion 252
Acknowledgements 252
References 252
How Uncertainty Helps Sketch Interpretation in a Design Task 253
1 Introduction 253
2 The Uncertain Information Process 253
3 The Uncertain Properties of Sketches 254
4 Sketch Interpretation and Uncertainty 255
5 Methods 255
5.1 Participants 255
5.2 Pre-Experiment Session 255
5.3 Main Experiment 256
5.4 Procedure 256
5.5 Measurement 257
6 Results 257
6.1 Total Number of Design Ideas Produced 257
6.2 V --> S transformations
6.3 V --> F transformations
7 Conclusion and Discussion 259
Acknowledgement 260
References 260
The Complementary Role of Representations in Design Creativity: Sketches and Models 261
1 Introduction 261
2 Pilot Study 262
3 Results 263
4 Discussion 264
References 266
Design Education 267
A Creativity Environment for Educational Engineering Projects when Developing an Innovative Product: A Case Study 268
1 Design Methodology / TRIZ 268
2 Design Projects in Education 269
3 Case Study – An Innovative Product 270
3.1 The Overall Concept 270
3.2 Working Out a Specific Subfunction 272
4 Conclusion 275
References 275
The Metaphor of an Ensemble: Design Creativity as Skill Integration 276
1 Creativity as an Ensemble of Design Skills 276
2 Integration as a Construct in Creativity Research 277
3 Skill Integration as a Basis for Design Creativity 277
4 The Multiple Skill Framework and Skill Integration in Design 278
5 Analyzing Skill Integration in the Architectural Design Studio 278
5.1 Analyzing Skill Integration at a Domain Level in Design 278
5.2 Analyzing Skill Integration at a Task Level in Design 279
5.2.1 The Case of Laura and Jared 280
6 Conclusions 282
References 283
Coaching the Cognitive Processes of Inventive Problem Solving with a Computer 284
1 Introduction 284
2 Related Art 284
2.1 Problem Solving Approaches 285
2.2 Computer-Aided Systems for Problem Solving 286
3 Dialogue-based System to Support the Analysis of an Inventive Problem 286
3.1 System Requirements 286
3.2 OTSM-TRIZ Models as a Meta-cognition Framework for Inventive Problem Solving 287
3.3 Description of the Algorithm 287
4 Testing Activity and Discussion 289
4.1 Test Group and Test Cases 289
4.2 Overview of the Results and Discussion 289
5 Conclusions and Future Activities 291
References 291
Acknowledgements 291
Creative Engineering Design Aspects given in a Creativity Training Course 292
1 Introduction 292
2 Creativity-training Course Modules 292
2.1 Methods and Techniques of Creativity (Module A) 293
2.2 Creativity and Innovation Inside Companies (Module B) 293
2.3 Exercise of Exchange of Mental Schemes (EMS) 295
3 Mental Processes for Creativity Used in This Course 295
3.1 Based on Existing Solutions 296
3.2 Based on the ordenation and combination of concepts and ideas 296
3.3 Based on Ample Objectives to Think 296
3.4 Based to Find Relations between Unconnected Concepts 296
3.5 Based on a Better Expression of Subconscious 297
4 Discussion and Conclusions 297
4.1 Creativity-training Course 297
4.2 Aspects of Mental Processes Involved 298
References 298
Design Image and Inspiration 299
Differential Approach of Design Image and Similarity Cognition 300
1 Introduction: The Cognitive Perspective through Similarity Experiments 300
2 Literatures Review 300
2.1 Studies of Similarity 300
2.2 Product Identity and Image of Design 301
2.3 Difference of Identification for the Product Image in 2D and 3D Designers 301
3 Approaching Methods 302
3.1 Hypothesis 302
3.2 Survey Approaches and Steps 302
4 Survey Results and Analysis 303
4.1 Analysis of Connection between the Harmony and Similarity of Different Products 303
4.2 Difference of similarity identifying to a pair of product between different education background subjects 304
4.3 Difference of identifying specific image (harmony or imagination) to a pair of product between different education background subjects 304
5 Conclusion and Suggestion 305
5.1 Conclusion 305
5.2 Suggestion 306
References 306
Appendix 307
Questionnaire example of Study3 (Tversky, 1978) 307
Poetry and Design: Disparate Domains but Similar Processes 308
1 Introduction 308
1.1 Sources of Inspiration 309
1.2 Solution-Focus and Primary Generators 309
1.3 Co-Evolution of Problem and Solution Spaces 310
2 Method 310
2.1 Participants 310
2.2 Materials and Procedure 310
3 Results 310
3.1 Inspiration 310
3.2 Writing Process 311
3.3 Revision 312
4 Discussion 313
Acknowledgements 315
References 315
Design by Customer: A Management of Flexibilities 316
1 Introduction 316
2 Design Dimensions 317
3 Design by Customer as a Management of Flexibilities 318
4 Practical Implementation 319
4.1 Customer need investigation 319
4.2 Manufacturing Capability 319
4.3 Engineering Constraints 320
5 Conclusion 321
References 321
Author Index 322